Dale Dickey and Wes Studi mesmerize in the minimalist feature debut of Max Walker-Silverman who is the son of Rick Silverman from Telluride…

Review by Kristen Page-Kirby

August 2, 2022

Dale Dickey in “A Love Song.” (Bleecker Street) 


If you’ve never been to any kind of silent meditation that lasts more than a few minutes — a Quaker meeting, a Vipassana weekend, a tryout to see if the cloistered lifestyle of a Carthusian monk is right for you — here’s what it can feel like. The first three minutes are kind of fun, like playing the quiet game in the back of the car before you realize it’s a way for your parents to get you to shut up for a few minutes. The next 10 minutes feel like you might die if you don’t look at your phone. After 20 more, you kind of settle in. The sounds around you (because human beings are incapable of actually being silent) get sharper and somehow more lovely. Afterward, your brain feels like it got to both relax and work in a way it hasn’t in a long time. And for a little while, you carry that back into the noisy world.

The movie “A Love Song” is kind of like that. In a filmmaking universe where Michael Bay and Zack Snyder seem to be in a battle to see who can damage more eardrums, first-time feature writer and director Max Walker-Silverman has taken the opposite tack. There is sound, including an excellent soundtrack and score, but there is no noise. It’s the cinematic equivalent of a deep breath and a cool drink.

We meet Faye (Dale Dickey), a woman with enough lines on her face to suggest her life hasn’t been an easy one, camping by a lake in Colorado. It’s not a spectacular landscape; the mountains are relatively small, and the grass is dry. While Faye is alone, we’re not sure if she’s lonely. The one thing we are sure of is that she’s expecting a visit from Lito (Wes Studi), a friend she hasn’t seen in decades. We also know her calendar is almost entirely blank until she writes “Today” on a Thursday she chose at random.

Wes Studi, left, and Dale Dickey in “A Love Song.” (Bleecker Street) 

When Lito arrives, the silence continues, but in a different way. There is no small talk, no idle chatter. They sit, they play their guitars, they eat ice cream. The minimalistic dialogue means every action takes on a more significant intimacy. Watching them put up a tent feels almost intrusive, because the moment is so special, so private.

Dickey and Studi, both veteran actors with credits longer than many careers, are extraordinary to the point that it’s hard to articulate why and just how good they are. They are utter masters of their craft, and Walker-Silverman wisely lets them do their thing. In fact, if he had elected to put these two into Faye’s trailer with no script, mount a few cameras, leave them to go have a few beers and return to see what footage he got, he would probably still have gold on his hands. Instead, he works with them. He knows when a close-up builds a relationship between audience and actor, and he knows when a wide shot does the same thing. Though both Faye and Lito start out — and, to a large degree, remain — enigmas, we also feel we know them on some raw level.

Like silent meditation, “A Love Song” isn’t for everyone. The movie requires its audience to both remain still and stay engaged. Those are skills many directors no longer value, so they’re skills many moviegoers no longer possess. But for those who will do the work, “A Love Song” is a special film that will stay with you long after the clamor of real life rushes back in around you.

PG. At area theaters. Contains mature thematic elements. 81 minutes.

Gerry Oyama, ‘The People’s Artist’ opening at The People’s Bakery in Telluride … a gentleman & ArTist extraordinaire



Baked in Telluride will feature local artist Gerry Oyama. The subjects of Oyama’s paintings are singers, animals, dancers, athletes: images of color & motion. As musicians are a frequent theme, his past shows at Baked in Telluride have been timed to coincide with the Jazz Celebration.

ArTist Gerry Oyama (r) with his handlers and Patrons, rŌbert and Duncan





Check out Gerry’s work

Remembering Jack Kerouac – Naropa Conference (July 23 – August 1, 1982) ~ This was a very cool 10 days in Boulder ~ Rōbert


original poster



July 30, 1982

Beat Generation Elders Meet to Praise Kerouac


BOULDER, Colo., July 29 — Nearly 13 years after his death and 25 years after ”On the Road” became his testament for the Beat Generation, young admirers and old comrades of Jack Kerouac gathered here this week to celebrate his life and his legacy.

Hundreds joined in the celebrating, with poetry and debate and sometimes sadly affectionate recollections of the man who was called the ”King of the Beats.”

”We couldn’t have had the 60’s, the decade of social revolution, without the 50’s,” said Abbie Hoffman, who was a prominent figure in the antiwar movement of the late 1960’s. Mr. Hoffman was among the panelists invited to speak here this week on the political effect of the Beat Generation.

”The Beats gave us a choice, showed us we could let our emotions hang out, we could fight City Hall,” said Mr. Hoffman, in a speech to more than 1,000 people crowding an auditorium on the campus of the University of Colorado here. ”The Beats are alive today.”

”On the Road: the Jack Kerouac Conference,” which will continue here through Sunday, has brought together many of the elders of a movement whose followers were once popularly referred to as beatniks and for whom Mr. Kerouac has become not only a symbol but also a figure of almost cultlike proportion.

Legacy of the Beats

In a sense, the conference is not only a celebration of Mr. Kerouac, although he is clearly the central figure, but also a whole fraternity of writers, poets and musicians who rebelled against what they saw as the stifling, conformist cultural values of the 1950’s.

”As a literary generation, the legacy of the Beats seems stronger than ever,” said Allen Ginsberg, the poet and a longtime friend of Mr. Kerouac. Mr. Ginsberg’s 1956 poem, ”Howl,” also became an anthem of the Beat generation. As for ”On the Road,” Mr. Kerouac’s novel, Mr. Ginsberg said that ”it turned on an entire generation.”

In addition to Mr. Ginsberg, who is 56 years old, those here this week include William S. Burroughs, 68, the author of the novel ”Naked Lunch,” and the poets Lawrence Ferlinghetti, Gregory Corso, Michael McClure and Peter Orlovsky.

More than 300 people pledged as much as $240 each to attend the conference and workshops, and scores more paid as much as $8 each for tickets to panel discussions that ranged from examinations of Mr. Kerouac’s relationships with women to an afternoon of personal recollections by his friends, many of which focused on his corrosive bouts with alcohol.

Carried ‘Like a Suitcase’


Allen Ginsberg and John Clellon Holmes

Nanda Pivano recalled that on a visit to Naples in the 1960’s to talk about his book, Mr. Kerouac was so drunk he had to be carried around ”like a suitcase.” John Clellon Holmes, a writer and poet, remembered a telephone call that turned out to be his last conversation with Mr. Kerouac, just a month before the writer died in October 1969.

Mr. Holmes said that Mr. Kerouac, who was lonely and probably drunk when he called, reluctantly hung up the telephone at last with the plea, ”If you’re my friend, you’ll call me right back.”

”I didn’t call him back,” Mr. Holmes said, adding softly, ”I’m doing it right now.”

Memorabilia Sells Briskly

In a small room off the lobby of the University’s Memorial Center, conference sponsors were doing a brisk business selling Beat memorabilia, including old copies of Evergreen Review for $5 and brightly colored T-shirts that bear Mr. Kerouac’s visage, for $6 and $7. They sold out their first shipment of 12 dozen T-shirts, as well as all their copies of ”On the Road,” in the first three days.

In addition, there is a display of films, manuscripts and photographs at a local museum, including a photo of the original manuscript of ”On the Road,” which Mr. Kerouac wrote in 1951 on a single, 100-foot roll of yellow teletype paper.


In an interview, Mr. Ginsberg said that the work of Mr. Kerouac and others of the Beat Generation was ”at the cutting edge of a literary movement that broke the back of censorship in this country.”

”The real legacy of Kerouac and the Beats is one of literary liberation,” said Mr. Ginsberg, whose own work has been frequently decried as pornographic because of its sexual detail. ”And that literary liberation was the catalyst for Gay liberation, Black liberation, women’s liberation and now, hopefully, liberation from the threat of nuclear destruction.”

‘Notre Dame of Buddhism

The conference is sponsored by the Naropa Institute, a small, Buddhist-oriented college above some shops on the second floor of a building in downtown Boulder. The institute, which offers degree programs in the humanities, is sometimes described by its patrons as ”the Notre Dame of Buddhism,” a reference to the Catholic university in South Bend, Ind.

Mr. Ginsberg has been associated with the school since 1974 as a founder and instructor of its Jack Kerouac School of Poetics, which offers courses in creative writing, Buddhist poetry and the literary history of the Beat generation. The institute has about 100 full-time students.

”In Kerouac, there is a gentleness, a basic vulnerability, that puts him somewhere between Buddhism and Christianity,” said Mr. Ginsberg, who said that Mr. Kerouac was, like himself, a student of Buddhist meditation.


Novel Had Critics

”On the Road,” a free-flowing treatise on Mr. Kerouac’s moods, feelings and experiences as he traveled across America, was criticized by many critics as shallow and self-indulgent.

Sex and drugs play a large part in the novel, which was written as if it were one long sentence, with only dashes for punctuation. That peculiar style led Truman Capote, another author, to remark that the book was not writing, but rather ”typewriting.” ”What we are doing here is not just nostalgia,” Mr. Ginsberg said. ”We want to survey what was achieved, and make some prophesy for the future. I think both the Buddhist teaching and the Beat attitude provide us with some useful karma for the moment.”




By William E. Schmidt

  • July 30, 1982

Credit…The New York Times Archives

See the article in its original context from 
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Nearly 13 years after his death and 25 years after ”On the Road” became his testament for the Beat Generation, young admirers and old comrades of Jack Kerouac gathered here this week to celebrate his life and his legacy.

Hundreds joined in the celebrating, with poetry and debate and sometimes sadly affectionate recollections of the man who was called the ”King of the Beats.”

”We couldn’t have had the 60’s, the decade of social revolution, without the 50’s,” said Abbie Hoffman, who was a prominent figure in the antiwar movement of the late 1960’s. Mr. Hoffman was among the panelists invited to speak here this week on the political effect of the Beat Generation.


Bill Russell, Who Transformed Pro Basketball, Dies at 88 ~ NYT

A Hall of Famer who led the Celtics to 11 championships, he was “the single most devastating force in the history of the game,” his coach Red Auerbach said.

Bill Russell with his coach, Red Auerbach, in December 1964 after scoring his 10,000th career point in a game in Boston Garden. In a 1980 poll of basketball writers, he was voted the greatest player in N.B.A. history.

Credit…Associated Press

By Richard Goldstein

July 31, 2022Updated 4:35 p.m. ET

Bill Russell, whose defensive athleticism at center changed the face of pro basketball and propelled the Boston Celtics to 11 N.B.A. championships, the final two when he became the first Black head coach in a major American sports league, died on Sunday. He was 88.

His death was announced by his family, who did not say where he died.

When Russell was elected to the Basketball Hall of Fame in 1975, Red Auerbach, who orchestrated his arrival as a Celtic and coached him on nine championship teams, called him “the single most devastating force in the history of the game.”

He was not alone in that view: In a 1980 poll of basketball writers (long before Michael Jordan and LeBron James entered the scene), Russell was voted nothing less than the greatest player in N.B.A. history.


Morgan and Phebe head out


una gran vida juntos

Edgar and Elizabeth Boyles son, Morgan and Phoebe his partner and now wife

were married recently at their home

180 for ceremony and dancing to 1 am

Men’s Drumming Circle at dawn, followed by

70 for brunch

and 33 at the table last night for dinner

Morgan is the jefe of Braun Hut System 

Phebe, Program Director at Aspen Center for Environmental Studies

La buena vida!


Aspen Public Radio | By Aspen Public Radio Staff

Published June 4, 2022

Bob Braudis papers.jpg
On Friday, Aspen lost another local legend, this time former Pitkin County Sheriff Bob Braudis.

Local legend and former Pitkin County Sheriff Bob Braudis passed away from natural causes at home in Aspen on Friday. He was 77.

Braudis, who served as sheriff for nearly 25 years, was known for his community-based, restorative-justice approach to law enforcement and for being a proponent for decriminalizing marijuana.

In the wake of Braudis’ passing, family, friends and colleagues have come together to share their stories of “the philosopher king of Aspen,” as his friend DJ Watkins called him.

Here are some stories about Braudis’ passing:

Aspen Times 

Community mourns passing of Aspen’s peace-loving, legendary lawman

Bob Braudis, former Pitkin sheriff, has died

Aspen Daily News 

Aspen bids farewell to its ‘philosopher king’

Former Sheriff Bob Braudis, an Aspen icon, passes away at 77

Here are some archived stories about Braudis:

Bob Braudis, Legends of Aspen Video Series

A Conversation Between Bob Braudis and Torre

Pitkin County’s Bob Braudis reflects on 24 years as sheriff

Pitkin County’s popular and unconventional sheriff ponders life after being lawman

A personal glimpse of a legendary persona

Former Pitkin County Sheriff Bob Braudis discusses interactions with Ted Bundy



Bob Braudis, former Pitkin sheriff, has died ~ THE ASPEN TIMES

News NEWS | June 3, 2022

Staff report

Bob Braudis, the former Pitkin County sheriff and county commissioner who left an indelible mark on local law enforcement and politics, died Friday morning.

Bob Braudis
Photo by Jim Paussa

Pitkin County Sheriff Joe DiSalvo, acting as the Braudis family’s representative, confirmed Friday that Braudis passed around 4 to 5 a.m. from natural causes. He was 77.

“Just a brilliant, brilliant mind with the most fantastic memory,” DiSalvo said by phone from Cooperstown, New York, where he is visiting. “Every detail and name, he never struggled for names and was just a very, very special person with a huge heart as big as his frame. All of this sounds so corny and it’s true: He had a gigantic heart, and we’re all going to be affected by this for a while.”


Tribute/Fiesta for Bill Kees founder (along with Lito Tejada-Flores) of Telluride Mountain Film in 1979


Mountain Film program
Kees Fest speakers and roadies.. (L-R) Bob Newman, Mike Friedman-MC, Lito Tejada-Flores, ?, Susan Kees, Midnite, Josh Borof , Tim Kudo, Judy Kohin-MC, Mark Frankman on the Sheridan Opera House stage Saturday morning.